Anne Finch, Countess of Winchilsea
Anne Finch, Countess of Winchilsea (April 1661 - 5 August 1720), was an English poet. Life Overview Finch was born in Sydmonton, Hampshire, the third child of Sir William Kingsmill of Sydmonton Court, and his wife, Anne Haslewood. She was well educated as her family believed in good education for girls as well as for boys. In 1682, Anne Kingsmill went to James's Palace to become a Maid of Honour to Mary of Modena (wife of James, Duke of York, who later became King [[James II of England|James II].) There she met the courtier Heneage Finch, whom she married on 15 May 1684. It was a happy marriage and Anne wrote several love poems to her husband, most famous perhaps A Letter to Dafnis, though her most well-known works speak on her bouts of depression and her fervent belief in social justice for women. Finch's works often express a desire for respect as a female poet, lamenting her difficult position as a woman in the literary establishment and the court, while writing of an intense artistic impulse to write despite the difficulties. On 4 August 1712, Charles Finch, 4th Earl of Winchilsea died childless. This made his uncle, Anne's husband, the 5th Earl of Winchilsea, and Anne, the Countess of Winchilsea. She died in Westminster in 1720, and was buried at her home at Eastwell, Kent. Biography :(The following essay is taken from the Biography Reference Center.) As a poet, Finch attained a modest amount of notoriety during her lifetime, which spanned the late 17th and early 18th centuries. However, her large body of work, written during the Augustan period (approximately 1660-1760), would earn greater attention after her death. While Finch also authored fables and plays, today she is best known for her poetry: lyric poetry, odes, love poetry and prose poetry. Later literary critics recognized the diversity of her poetic output as well as its personal and intimate style. In her works Finch drew upon her own observations and experiences, demonstrating an insightful awareness of the social mores and political climate of her era. But she also artfully recorded her private thoughts, which could be joyful or despairing, playful or despondent. The poems also revealed her highly developed spiritual side. Anne Finch was born as Anne Kingsmill in April of 1661, in Sydmonton in Hampshire, located in the southern part of England. Her parents were Sir William Kingsmill and Anne Haslewood. She was the youngest of three children. Her siblings included William and Bridget Kingsmill. The young Anne never knew her father, as he died only five months after she was born. In his will, he specified that his daughters receive financial support equal to that of their brother for their education. Her mother remarried in 1662, to Sir Thomas Ogle, and later bore Anne Kingsmill's half-sister, Dorothy Ogle. Anne would remain close to Dorothy for most of their lives. Finch's mother died in 1664. Shortly before her death she wrote a will giving control of her estate to her second husband. The will was successfully challenged in a Court of Chancery by Anne Kingsmill's uncle, William Haslewood. Subsequently, Anne and Bridget Kingsmill lived with their grandmother, Lady Kingsmill, in Charing Cross, London, while their brother lived with his uncle William Haslewood. In 1670 Lady Kingsmill filed her own Court of Chancery suit, demanding from William Haslewood a share in the educational and support monies for Anne and Bridget. The court split custody and financial support between Haslewood and Lady Kingsmill. When Lady Kingsmill died in 1672, Anne and Bridget rejoined their brother to be raised by Haslewood. The sisters received a comprehensive and progressive education, something that was uncommon for females at the time, and Anne Kingsmill learned about Greek and Roman mythology, the Bible, French and Italian languages, history, poetry, and drama. Joined the Court of Charles II The sisters remained in the Haslewood household until their uncle's death in 1682. Twenty-one years old at the time, Anne Kingsmill then went to live at St. James Palace, in the court of Charles II. She became one of six maids of honour to Mary of Modena, who was the wife of James, Duke of York, who would later become King James II. Apparently Anne's interest in poetry began at the palace, and she started writing her own verse. Her friends included Sarah Churchill and Anne Killigrew, two other maids of honor who also shared poetic interests. However, when Anne Kingsmill witnessed the derision within the court that greeted Killigrew's poetic efforts (poetry was not a pursuit considered suitable for women), she decided to keep her own writing attempts to herself and her close friends. She remained secretive about her poetry until much later in her life, when she was encouraged to publish under her own name. While residing at court, Anne Kingsmill also met Colonel Heneage Finch, the man who would become her husband. A courtier as well as a soldier, Colonel Finch had been appointed Groom of the Bedchamber to James, Duke of York, in 1683. His family had strong Royalist connections, as well as a pronounced loyalty to the Stuart dynasty, and his grandmother had become Countess of Winchilsea in 1628. Finch met Kingsmill and fell in love with her, but she at first resisted his romantic overtures. However, Finch proved a persistent suitor and the couple was finally married on 15 May 1684. Upon her marriage, Anne Finch resigned her court position, but her husband retained his own appointment and would serve in various government positions. As such, the couple remained involved in court life. During the 1685 coronation of James II, Heneage Finch carried the canopy of the Queen, Mary of Modena, who had specifically requested his service. The couple's marriage proved to be enduring and happy, in part due to the aspects of equality in their partnership. Indeed, part of the development of her poetic skills was brought about by expressing her joy in her love for her husband and the positive affects of his lack of patriarchal impingement on her artistic development. These early works, many written to her husband (such as "A Letter to Dafnis: April 2d 1685"), celebrated their relationship and ardent intimacy. In expressing herself in such a fashion, Anne Finch quietly defied contemporary social conventions. In other early works she aimed a satiric disapproval at prevailing misogynistic attitudes. Still, her husband strongly supported her writing activities. Despite their court connections, Anne and Heneage Finch led a rather sedate life. At first they lived in Westminster; then, as Heneage Finch became more involved in public affairs, they moved to London. His involvement had increased when James II took the throne in 1685. The couple demonstrated great loyalty to the king in what turned out to be a brief reign. Refused oath to King William James II was deposed in 1688 during the "bloodless revolution." During his short reign, James fell under intense criticism for his autocratic manner of rule. Eventually he fled England for exile in Saint-Germain, France. As a result, the British Parliament offered William of Orange the English crown. When the new monarchs, William and Mary, assumed the throne, oaths of allegiance became a requirement for both the public and the clergy. William and Mary were Protestants, and the Finches remained loyal to the Catholic Stuart court, refusing to take the oath. They also viewed their oaths to the previous monarchy as morally binding and constant. But such a stance invited trouble. Heneage Finch lost his government position and retreated from public life. As the loss of his position entailed a loss of income, the Finches were forced to live with friends in London for a period. However, while living in the city the couple faced harassment, fines and potential imprisonment. In April of 1690 Heneage Finch was arrested and charged with Jacobitism for attempting to join the exiled James II in France. It was a difficult time for Jacobites and Nonjurors (those who had refused to take the oath of allegiance, such as the Finches), as their arrests and punishments were abusive. Because of his arrest, Heneage and Anne Finch remained separated from April until November of that year. Understandably, the circumstances caused the couple a great deal of emotional turmoil. Living with friends in Kent while her husband prepared his defense in London, Anne Finch often succumbed to bouts of depression, something that afflicted her for most of her adult life. The poems that she wrote during this period, such as "Ardelia to Melancholy," reflected her mental state. Other poems involved political themes. But all of her work was noticeably less playful and joyous than her earlier output. Moved to Country Estate After Heneage Finch was released and his case dismissed, his nephew Charles Finch, the 4th Earl of Winchelsea, invited the couple to permanently move into the family's Eastwell Park, Kent, estate. The Finches took up residence in late 1690 and found peace and security on the beautiful estate, where they would live for more than 25 years in the quiet countryside. For Anne Finch, the estate provided a fertile and supportive environment for her literary efforts. Charles Finch was a patron of the arts and, along with Heneage Finch, he encouraged Anne's writing. Her husband's support was practical. He began collecting a portfolio of her 56 poems, writing them out by hand and making corrective changes. One significant change involved Anne's pen name. Heneage changed it from "Areta" to "Ardelia." The peace and seclusion at Eastwell fostered the development of Finch's poetry, and the retirement in the country provided her with her most productive writing period. Her work revealed her growing knowledge of contemporary poetic conventions, and the themes she addressed included metaphysics, the beauty of nature (as expressed in "A Nocturnal Reverie"), and the value of friendship (as in "The Petition for an Absolute Retreat"). Return to public life By the early 18th century the political climate in England had generally improved for the Finches. King William died in 1702, and his death was followed by the succession to the throne of Queen Anne, the daughter of James II, who had died in 1701. With these developments, the Finches felt ready to embrace a more public lifestyle. Heneage Finch ran for a parliamentary seat three times (in 1701, 1705, and 1710), but was never elected. Still, the Finches felt the time was right to leave the seclusion of the country life and move into a house in London. In London, Anne Finch was encouraged to publish her poetry under her own name. Earlier, in 1691, she had anonymously published some of her poetry. In 1701 she published "The Spleen" anonymously. This well-received reflection on depression would prove to be the most popular of her poems in her lifetime. When the Finches returned to London, Anne acquired some important and influential friends, including renowned writers such as Jonathan Swift and Alexander Pope, who encouraged her to write and publish much more openly. She was reluctant, as she felt the current social and political climate remained oppressive as far as women were concerned. (In her poem "The Introduction," which was privately circulated, she reflected on contemporary attitudes toward female poets.) When she published Miscellany Poems, on Several Occasions in 1713, the cover page of the first printing indicated that the collected works (which included 86 poems as well as a play) were "Written by a Lady." However, on subsequent printings, Finch (as Anne, Countess of Winchilsea) received credit as the author. Became Countess Anne Finch became Countess of Winchilsea upon the sudden and unexpected death of Charles Finch, 4th Earl of Winchilsea, on 4 August 1712. As Charles Finch had no children, his uncle Heneage Finch (died 1726) became the Earl of Winchilsea, making Anne the Countess. However, the titles came with a cost. The Finches had to assume Charles Finch's financial and legal burdens. The issues were eventually settled in the Finches' favor in 1720, but not before the couple had endured nearly seven years of emotional strain. During this period, Heneage and Anne Finch faced renewed strains resulting from court politics. When Queen Anne died in 1714, she was succeeded by George I. Subsequently, a Whig government, which was hostile to the Jacobite cause, rose to power. Further, the Jacobite rebellion, which took place in Scotland in 1715, further aggravated the tense political situation. The Finches became greatly concerned about their safety, especially after a friend, Matthew Prior, who shared their political sympathies, was sent to prison. Deteriorating Health All of the worries combined to take a toll on Anne Finch's health, which began to seriously deteriorate. For years she had been vulnerable to depression, and in 1715 she became seriously ill. Her later poems reflected her turmoil. In particular, "A Suplication for the joys of Heaven" and "A Contemplation" expressed her concerns about her life and political and spiritual beliefs. She died in Westminster, London, and her body was returned to Eastwell for burial, according to her previously stated wishes. Her husband produced an obituary that praised her talents as a writer and her virtues as an individual. A portion of it read, "To draw her Ladyship's just Character, requires a masterly Pen like her own (She being a fine Writer, and an excellent Poet); we shall only presume to say, she was the most faithful Servant to her Royall Mistresse, the best Wife to her Noble Lord, and in every other Relation, publick and private, so illustrious an Example of such extraordinary Endowments, both of Body and Mind, that the Court of England never bred a more accomplished Lady, nor the Church of England a better Christian." Writing Did I, my lines intend for public view, How many censures, would their faults pursue, Some would, because such words they do affect, Cry they’re insipid, empty, and uncorrect. And many have attained, dull and untaught, The name of wit only by finding fault. True judges might condemn their want of wit, And all might say, they’re by a woman writ…” (Finch, The Introduction) With these lines, written in the poem The Introduction by Anne Finch, Countess of Winchilsea, readers are welcomed into a vibrant, emotional, and opinionated style. They are unapologetically let in on the distinctly female voice that is to come. Melancholy, full of wit, and socially conscious, Anne Finch wrote verse and dramatic literature with a talent that has caused her works to not only survive, but to flourish in an impressive poetic legacy throughout the centuries since her death. Finch’s range as a writer was vast. She experimented with the poetic traditions of her day, often straying from the fold through her use of rhyme, meter and content, which ranged from the simplistic to the metaphysical. Additionally, Finch wrote several satiric vignettes modeled after the short tales of Jean La Fontaine, the French fable writer. She mocked these fables, offering social criticism through biting sarcasm. Finch's more melancholy fare, however, gained her wider acclaim. Her famous poems in this sullen vein include A Nocturnal Reverie and Ardelia to Melancholy, both depicting severe depression. Her poetry is often considered to fall in the category of Augustan, reflecting upon nature and finding both an emotional and religious relationship to it in her verse. Finch also skillfully employed the Pindaric ode, exploring complex and irregular structures and rhyme schemes. Her most famous example of this technique is in The Spleen (1709), a poetic expression of depression and its affects: :What art thou, Spleen, which ev’ry thing dost ape? Thou Proteus to abused mankind, Who never yet thy real cause could find, Or fix thee to remain in one continued shape. Still varying thy perplexing form, Now a Dead Sea thou’lt represent, A calm of stupid discontent, Then, dashing on the rocks wilt rage into a storm. Trembling sometimes thou dost appear, Dissolved into a panic fear… (Finch, The Spleen) This poem was first published anonymously, though it went on to become one of her most renowned pieces. As Virginia Woolf, a later proponent of intellectual investigation into Finch’s life and work, once famously wrote, “I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman” (Woolf, A Room of One’s Own). Critical introduction by Edmund Gosse In that invaluable Essay which Wordsworth appended to his Lyrical Ballads in 1815, he says that "excepting the "Nocturnal Reverie" of Lady Winchilsea, and a passage or two in the Windsor Forest of Pope, the poetry of the period intervening between the publication of the Paradise Lost and the Seasons does not contain a single new image of external nature." This remark, although rather acute than exact, since the poet forgets both Gay and Parnell, did eminent service in restoring to the list of English poets a name entirely and unworthily forgotten. Since Wordsworth’s mention of Lady Winchilsea, the one piece that he cites has been often reprinted in collections of verse, but it cannot be said that any further effort has been made to investigate the claims of the neglected authoress.... Yet she was a poetess of singular originality and excellence; her lines "To the Nightingale" have lyrical qualities which were scarcely approached in her own age, and would do credit to the best, while her odes and more weighty pieces have a strength and accomplishment of style which make the least interesting of them worth reading. Lady Winchilsea was one of the last pindaric writers of the school of Cowley. Her odes display that species of writing in the final dissolution out of which it was redeemed by Gray and Collins. Such a poem as her "All is Vanity", full as it is of ingenious thought, and studded with noble and harmonious lines, fails to impress the attention as a vertebrate composition. Her "Ode to the Spleen", from which Pope borrowed his famous ‘aromatic pain,’ is still more loose and fragmentary in structure. On the other hand, her less ambitious studies have a singular perfection of form and picturesqueness of manner. She lights upon the right epithet and employs it with precision, and gives a brilliant turn, even to a triviality, by some bright and natural touch. Her "Nocturnal Reverie" is worthy of Wordsworth’s commendation; it is simply phenomenal as the creation of a friend of Prior and of Pope, and some of the couplets, especially those which describe the straying horse, and the cries of the birds, are worthy of the closest observers of nature in a naturalistic age. In light verse Lady Winchilsea took Prior as a model, and succeeded respectably; her reply to Pope’s complimentary verses to her under the name of Ardelia deserves higher praise. From her age to this Lady Winchilsea has received nothing but neglect from the English public. Her contemporaries disregarded her writings, as she herself complains, and in 1753 there were still existing two collections of her poems in MS., which no one had taken the trouble to print. To the public of the eighteenth century her delicate observation of nature seemed less important than the didactic lyricism of Mrs. Barber or the frivolity of Lætitia Pilkington. If those unpublished poems, to which reference has been made, are still in the possession of her family, it is highly desirable that they should be given to the world.from Edmund Gosse, "Critical Introduction: Anne Finch, Countess of Winchilsea (1661–1720)," The English Poets: Selections with critical introductions (edited by Thomas Humphry Ward). New York & London: Macmillan, 1880-1918. Web, June 19, 2016. Poetry Rediscovered The only major collection of Anne Finch's writings that appeared in her lifetime was Miscellany: Poems, on several occasiona. Nearly a century after her death her poetic output had been largely forgotten, until Wordsworth praised her nature poetry in an essay included in his 1815 volume Lyrical Ballads. Wordsworth also gave Finch's poems pride of place in an anthology he prepared for Lady Mary Lowther, which was published in 1905.Anne Finch, Kids Britannia. Web, Feb. 18, 2016. A major collection titled The Poems of Anne, Countess of Winchilsea, edited by Myra Reynolds, was published in 1903. For many years it was considered the definitive collection of her writings. It remains the only scholarly collection of Finch's poetry, and includes all of the poems from Miscellany Poems and poems retrieved from manuscripts. Further, Reynolds's impressive introduction did as much to re-establish Finch's reputation as Wordsworth's previous praise. Later, The Wellesley Manuscript, which contained 53 unpublished poems, was released. Literary scholars have noted Finch's distinctive voice and her poems' intimacy, sincerity, and spirituality. They also expressed appreciation for her experimentation as well as her assured usage of Augustan diction and forms. According to James Winn (The Review of English Studies, lix, 2008, pp. 67–85) Anne Finch is the librettist of Venus and Adonis, music by John Blow. Bruce Wood, in his critical edition of the opera for the Purcell Society, agrees with Winn. In 1929, centuries after the Countess' death, in the classic essay A Room of One's Own, Virginia Woolf both critiques Finch's writing and expresses great admiration for it. In Woolf's examination of the "female voice" and her search for the history of female writers, she argues that Finch's writing is "harassed and distracted with hates and grievances," pointing out that to Finch "men are hated and feared, because they have the power to bar her way to what she wants to do--which is to write." However, Woolf excuses the flaws she perceives in Finch's work by claiming that Finch surely had to "encourage herself to write by supposing that what she writes will never be published." She goes on to acknowledge that in Finch's work, "Now and again words issue of pure poetry...It was a thousand pities that the woman who could write like that, whose mind was turned to nature, and reflection, should have been forced to anger and bitterness." Woolf goes on in defense of her as a gifted but sometimes understandably misguided example of women's writing. It is evident that Woolf sympathizes deeply with Finch's plight as a female poet, and though she takes issue with some of the content in Finch's writing, she expresses grief that Finch is so unknown: "...when one comes to seek out the facts about Lady Winchilsea, one finds, as usual, that almost nothing is known about her." Woolf wishes to know more about "this melancholy lady, who loved wandering in the fields and thinking about unusual things and scorned, so rashly, so unwisely, 'the dull manage of a servile house.'" Finch is known today as one of the most versatile and gifted poets. One of her poems was set to music by Purcell.Anne Finch,essay by James Nunn,Poets on Poets,Carcanet Press,Manchester,1997 ISBN 1-85754-339-4 Publications Poetry *''Upon the Death of King James the Second'' (anonymous). London, 1701. *''The Tunbridge Prodigy''. London: John Morphew, 1706. *''The Spleen: A Pindarique ode; by a Lady''. London: H. Hills, 1709. *''Free-thinkers: A Poem in Dialogue''. London & Westminster: 1711. *''Miscellany: Poems, on several occasions. written by a lady''. London:J.B. for Benj. Tooke, William Taylor, & James Round, 1713; London: John Barber for William Taylor & Jonas Browne, 1714. *''The Wellesley Manuscript Poems'' (edited by Jean M. Ellis D'Alessandro). Florence, Italy: Universita degli Studi di Firenze, 1988 **(edited by Barbara McGovern). Athens, GA: University of Georgia Press, 1998. Play *''Aristomenes; or, The royal shepherd: A tragedy''. London: J.B. for Benj. Tooke, 1713.Search results = au:Anne Finch countess, WorldCat, OCLC Online Computer Library Center Inc. Web, Feb. 19, 2016. Collected editions *''The Poems of Anne, Countess of Winchilsea'' (edited by Myra Reynolds). Chicago: University of Chicago Press, 1903. *''Selected Poems of Anne Finch, Countess of Winchilsea''. Hull, QC: Orinda, 1906. *''Poems, by Anne, Countess of Winchilsea'' (compiled by John Middleton Murray). London: Cape, 1928; New York: Harper, 1928. *''Selected Poems'' (edited by Katharine M. Rogers). New York: Ungar, 1979. *''Selected Poems'' (edited by Denys Thompson). Manchester: Carcanet Press, 1987; New York: Fyfield, 1987. Except where noted, bibliographical information courtesy the Poetry Foundation.Anne Finch Countess of Winchilsea 1661-1720, Poetry Foundation, Web, Sep. 15, 2012. See also * List of British poets References *''Women Critics 1660-1829: An Anthology''. ed. Folger Collective on Early Women Critics. Bloomingon, IN: Indiana University Press, 1995. 45-43. Notes External links ;Poems * Anne Finch, Countess of Winchilsea 1661-1720 at the Poetry Foundation *"Fanscomb Barn: In imitation of Milton" *"The Owl Describing Her Young Ones" at Poem of the Week, The Guardian * Selected Poetry of Anne Finch, Countess of Winchilsea (1661-1720) (2 poems) at Representative Poetry Online *Finch in The English Poets: An anthology: "To the Nightingale," "The Tree," "A Nocturnal Reverie," Extract from "An Ode to the Spleen", "In Answer to Mr. Pope" *Finch in A Book of Women's Verse: "The Soldier's Death," "The Sensual Man," "A Nocturnal Reverie," "A Wish for Her Retreat," "Adam Pos'd," "The Wit and the Beau," "The Critick and the Writer of Fables," "To Death" *Anne Finch, Countess of Whinchilsea (1661-1720) at A Celebration of Woman Writers (profile & 13 poems) *Anne Finch, Countess of Winchilsea at Poetry Nook (57 poems) *Poetry, Discussion, Biography at AllPoetry * Anne Kingsmill Finch at PoemHunter (96 poems) ;Books *Image of Finch's manuscript of "The wit and the beau" ;Audio / video *Anne Finch poems at YouTube ;About Anne Finch in the Kids Britannia *The Literary Encyclopedia *Finch, Anne (d. 1720) in the Dictionary of National Biography *Anne Finch (1661-1720) at English Poetry, 1579-1830 *Anne Finch, Countess of Winchilsea (1661-1720) at Luminarium: Life, extensive works, study resources Category:1661 births Category:1720 deaths Category:English poets Category:British countesses Category:People from Basingstoke and Deane (district) Category:People from Ashford, Kent (district) Category:17th-century women writers Category:Women poets Category:English women writers Anne Category:18th-century poets Category:18th-century women writers Category:English-language poets Category:Poets